Exciting, pulse-pounding, riveting concerts featuring world-class chamber musicians - June 9 - September 5, 2022 - September 5, 2022 Exciting ...
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Exciting, pulse-pounding,
riveting concerts featuring
world-class chamber musicians
Season 32
June 9 - September 5, 2022
No radio? No problem!
Find us on Facebook, Twitter
and at wpr.org.
2 Midsummer’s Music
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Season 32 3
About Midsummer’s Music
Founded in 1990,
Midsummer’s Music has
been bringing chamber
music to Door County,
Wisconsin, audiences
for more than three
decades. Our “exciting,
pulse-pounding and
riveting” concerts include
international premieres and
feature world-class artists.
Our unique and diverse
cultural, historical, and
scenic musical experiences
touch tens of thousands of listeners each year via live performances, radio, and social
media. A multi-faceted organization featuring collaborations with local organizations
and institutions, we attract musicians from Chicago’s Lyric Opera, Chicago Symphony,
Milwaukee Symphony, St. Paul Chamber Orchestra, Ravinia Festival, and Pro Arte Quartet,
among others.
Our resident string quartet, the Griffon String Quartet, enriches the lives of children and
adults throughout northeast Wisconsin through concerts, workshops, and music education.
Collaborations include Write On, Door County and Woodwalk Gallery involving poets and
artists who create original works based on the music that inspired them, and the Celebrate
Water initiative which is a major programming commitment to bring awareness to water
supply protection.
Midsummer’s Music attracts increasing admiration and respect from around the country,
while still gaining the affection of local Door County audiences.
midsummersmusic.com • 920-854-7088
Mission Statement
Our mission is:
• presenting world-class chamber music
• performing at the highest standard of artistic excellence
• enriching audiences near and far
• sharing dynamic, distinctive and engaging performances
We are:
• actively committed to accessibility and intentional inclusivity in
all aspects of our work
• continually striving to provide all people with opportunities to
connect with the music we perform
Midsummer’s Music • 10568 Country Walk Ln., Unit 43 • Sister Bay, WI 54234
FEIN: 39-1829237
4 Midsummer’s Music
Board of Directors
James T. Berkenstock, President
Peggy Lott, Vice President
Mary Hauser, Secretary
Karin Myers, Treasurer
Ann Morgan, Member at Large
Jean W. Berkenstock Megan Heintzkill
Nancy Borghesi Kathryn M. Kant
Alice Chrismer Tyler Powell
Beverly Ann Conroy Dianne Trenchard
Allyson Fleck David Utzinger
Michael J. Schmitz, Honorary Chairman
Emeritus
Beth Coleman Sue Jacobs Judy Widen
Frank Dayton Suzanne Musikantow Carmen Witt
Gloria Drummond Alicia and Hugh Mulliken
George Fiedler Penny Schultz
Staff
Allyson Fleck, Executive Director & Russ Warren, Marketing & Media
Assistant Artistic Director Julie Hobbs, Accounting Manager
Noah Schaffrick, Associate Director & Stephanie Wallace, Office Clerk
Education Program Coordinator Jacob Alexander, Office Assistant
2022 Coffee Talks
Coffee Talk programs are free, informal
presentations on music topics by
ensemble members. staff, and friends.
June 21• Allyson Fleck and Noah Schaffrick – A Survey of Chamber Music
11:00am, Historic Town Hall, Fish Creek
July 2 • Will Healy – Composer-in-Residence
2:00pm, Donald & Carol Kress Pavilion, Egg Harbor
July 23 • Flautist Heather Zinninger Yarmel – Taoism and Alexander Technique in
Music: A beginner’s journey to finding greater freedom in music-making
11:00am, Margaret Lockwood Gallery, Sturgeon Bay
August 23 • Artistic Director Jim Berkenstock – Where Does Music Come From?
2:00pm, St. Luke’s Episcopal Church, Sister Bay
Season 32 5
From the Artistic Director Greetings! And Welcome to this 32nd season of Midsummer’s Music. How we look forward to seeing you throughout the summer, and how we look forward to sharing some exciting and impactful music with you. Thank you for joining us and thank you for your support over the last few very difficult years. We have tried to offer you as much music and other programming during the pandemic while regarding all health precautions. It has been our sense that you needed us during that time, and we surely have needed you. Few groups have been hit harder than the performing arts over the last two years, but we have survived, and that is thanks to you. We are very grateful for your continuing support. We are offering a full season of 44 concerts this summer, from June 9 to September 5. We start and end with galas, but every experience the best it can be. Most of all, concert will be a celebration as we I want to thank David, Jeannie, James, reconnect and enjoy great music performed Sally, Allyson, Ann, JJ, Heather—all of the with special enthusiasm and joy. approximately 20 of the country’s finest We hope you will take advantage of musicians who thrill us all and do so with every opportunity to participate from such joy. Finally, thanks to all of you who your favorite locations, to home concerts, help make Midsummer, not just a time of encore concerts, and restaurant packages. year, but a way of being. Check out the opportunities offered by the Warmest regards, 88-Key Society, our Legacy Society, or join our Volunteers and meet some of the best people on the Peninsula. I especially want to thank our wonderful Jim Berkenstock, staff. They work so hard to put on President/Artistic Director this difficult season and to make your 6 Midsummer’s Music
From the Executive Director
It is my pleasure to welcome you to
Midsummer’s Music, led by Artistic Director
James Berkenstock. We all look forward
to returning to our intimate settings and
breathtaking performances. Our musicians
are world-class artists. Partnering with Jim
and the musicians has been a gift, creating
some of the most memorable experiences
in Midsummer’s history, and we look
forward to continuing our work together in
the years to come.
I extend my deep gratitude to the
musicians, board, staff, and all the
volunteers at Midsummer’s Music, for their
enduring spirit, in bringing this season
to fruition. I would also like to recognize
the visionary sponsors who have built a
bridge of support to our programming,
making possible the entire 2022 season.
Their generosity, along with our many
On behalf of the entire Midsummer’s Music
supporters, has sustained us through the
team, thank you for being with us as we
challenges of the last two years and gives
celebrate our 32nd season!
us a strong foundation for the future.
And we have so much to look forward to. Musically yours,
As we plan for next season and beyond,
Midsummer’s Music will continue our
commitment to present works that enrich, Allyson Fleck
inspire, and enthuse us. Executive Director
Assistant Artistic Director
Season 32 7
Best of the Unknown Greats
Friedrich Kiel & Joachim Raff at 200
with special guest WPR’s Norman Gilliland
Opening Night
Dedicated to the memory of Karl Klug
Quartet No. 3 in G Major, Op. 50 Friedrich Kiel
Piano, Violin, Viola, and Cello (1821-1885)
Adagio con espressione; Allegro
Andante quasi allegretto
Presto assai
Intermission
Quartet No. 2 in C Minor, Op. 202, No. 1 Joachim Raff
Piano, Violin, Viola, Cello (1822-1882)
Allegro
Allegro
Larghetto
Allegro
David Perry, Violin • Sally Chisholm, Viola •
James Waldo, Cello • Jeannie Yu, Piano
David and Sally are sponsored by Nancy & David Borghesi.
Jeannie is sponsored by Mary Hauser & Jerry Randall.
Thursday, June 9, 7:00pm – Opening Night – Kress Pavilion, Egg Harbor
Sponsored by Lucy Klug and the Midsummer’s Music Board of Directors
Poet: Door County Poet Laureate Mike Orlock
Saturday, June 11, 7:00pm – Björklunden, Baileys Harbor
Sponsored by Mike & Ann Morgan
Sunday, June 12, 3:00pm – Hope United Church of Christ, Sturgeon Bay
Sponsored by Sandy Zingler
Tuesday, June 14, 7:00pm – St. Luke’s Episcopal Church, Sister Bay
Sponsored by George & Julie Fiedler
Special thanks to Eagle Harbor Inn for housing Norman Gilliland.
8 Midsummer’s Music
Best of the Unknown Greats
Friedrich Kiel & Joachim Raff at 200
PROGRAM NOTES
“Unknown Great.” How can that be? If you birthplace,
were to ask me to find such a thing in the Bonn. Showing
world of symphonic music, I would say precocious talent
fool’s errand. The same in the world of at an early age,
opera. Most truly great composers excelled his father, a
in many areas, although Beethoven left schoolteacher,
us with only one opera and Brahms and sought piano
Schumann (among others) with none, lessons for his son
while Wagner wrote almost nothing from a colleague.
but. We know Chopin only because of By the time
his piano music, Hugo Wolff because of Friedrich was 14,
Lieder, and what would most of us know of he was performing in the court ensemble
Handel if not for Messiah? Few composers, of Prince Albrecht I of Sayn-Wittgenstein-
however, have been lifted to the pantheon Berleburg. Three years later, the Prince
of greatness solely on the basis of their paid for him to study with the, at the time,
chamber music, although several have well known composer and teacher, Caspar
poured some of their finest efforts into this Kummer. Subsequently, the King of Prussia
genre including Beethoven, Haydn, Mozart, gave him a stipend to study with an even
Schubert, and Brahms for starters. But Kiel more highly regarded composition teacher,
and Raff poured their most inspired music Siegfried Dehn, in Berlin. After teaching for
into their chamber music. a few years at the Stern Academy in Berlin,
Given the extraordinary quality of some Kiel was hired by the famous violinist,
of their chamber music and the fact that Joseph Joachim, to teach at the Academy of
both composers are celebrating their Music where he became a professor within
200th birthdays, it seems fitting to explore only three years.
two works that present them in their best Kiel’s third and final piano quartet
light. Joachim Raff is no stranger to us, comes from just a year before his initial
since we have performed at least six of his appointment to the Academy and follows
works in prior seasons. Friedrich Kiel, on quickly on the heels of his first two piano
the other hand, is a welcome newcomer to quartets from a year or two earlier.
our concerts. Both composers, in their day, The Quartet in G Major is unusual in
were expected to be remembered as being a number of respects. It is in three
of the finest of their generations but soon movements rather than the more
fell into the oblivion of the near great. Only customary four. It is suffused with a sense
in the last few decades has there been a of lightness and optimism, and a skillful
reappraisal of their significance, and most handling of texture, counterpoint, and
of that reappraisal has been based on their harmonic language overlays the gaiety
chamber music. We are delighted to be part with a heightened sense of care. The first
of that resurgent interest and hope that you movement begins with a slow introduction
share in our sense of discovery. that portends a somewhat ominous
Friedrich Kiel (1821-1885) was born exposition, but when the main tempo
in Puderbach, Germany, just north of breaks forth, we are on the dance floor in
Koblenz and a bit southeast of Beethoven’s a whirling waltz. Was he giving Brahms the
Season 32 9
idea of what a Liebeslieder Waltz could hold? in the fin du siècle
(Brahms wrote many of his waltzes the year and in the early
after Kiel’s quartet appeared.) Regardless, decades of the
the handling of this material is masterful. 20th century.
Kiel manages complex elements with Raff was born
aplomb, releasing effortlessness into the air near Zurich,
much like a fine dancer overcomes gravity Switzerland. His
and rhythm to portray grace and ease. German father had
The second movement begins with a fled Württemberg,
modestly penitential air introduced by the Germany to avoid
piano but it is soon exquisitely joined by the being drafted into
strings as if Schubert were giving us a song the French army then in control of that
without words. A contrasting section in area. Due to his family’s meager means,
the minor is more animated, perhaps even Joseph’s education was somewhat limited.
agitated, and then is bookended by the However, he received a break in 1844
return of the opening theme. The finale is a when Mendelssohn recommended that
romp, but again, the ease and energy that some piano pieces by Raff be published.
Kiel suggests belies the complexity that This began a flood of publications that
raises this conception to an exquisite plane. eventually exceeded 210 works, much of it
chamber music (where he truly excelled) or
Kiel’s hobby was mountaineering, and at works for piano, although he was successful
age 60, he climbed Mont Rossa, Europe’s in nearly every genre.
second highest peak. Two years later he
was seriously injured in an accident with a Raff was to enjoy the support of several
coach. Complications from that injury led important contemporary musicians. In
to his death within two years and just three 1845, he traveled on foot to Basle to hear
years after the death of Joachim Raff. At Liszt play. Liszt helped secure a position for
the time of his death, the Berlin music critic Raff in Cologne. He next went to Stuttgart
Otto Gumbrecht said he was second only where he met Hans von Bülow, a fellow
to Brahms. However, his modest personality student of Liszt destined to become one
and the fact that he wrote neither of Germany’s most consequential pianists
symphony nor opera in an age that revered and conductors. Von Bülow became a friend
both, led to the diminishment of his fame. for life. Although Raff had already enjoyed
Within the last few decades his work has the helpful intercession of Mendelssohn,
started to be rediscovered, and a significant he finally met the great master in 1846
number of recordings and publications and made plans to study with him.
are underpinning a worthy resurgence of Unfortunately, Mendelssohn died soon
interest. Kiel’s interest in the counterpoint thereafter. Raff again received help from
of Bach and the formal structure of Liszt in 1850. For a time, Raff lived with Liszt
Beethoven embraces and informs his work, in Weimar, assisting him as a sort of musical
but stylistically he seems like the missing secretary. In 1877, he was appointed
link between Schubert and Brahms. director of the Hoch Conservatory in
Frankfurt where he remained for the rest of
In his day Joseph Joachim Raff (1822- his life.
1882) was considered to be every bit the
equal of Brahms, Wagner, or Tchaikovsky. Raff’s early works followed the style of
However, his name quickly disappeared Mendelssohn, but he soon worked to
from prominence shortly after his death, broaden his language to incorporate
especially as the torrents of change in elements of the New German School under
musical styles and tastes swept over Europe the influence of Schumann, Liszt, and
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Season 32 11Wagner. He saw himself as an important utter conviction that your quintet is your
link between the older school of classicism best, the most important work in the field
with its emphasis on sonata form, and of chamber music since Beethoven.”
the newer style, which incorporated The Piano Quartet in G major, Op. 202, No. 1
programmatic elements. closed our season last year. To begin this
In 1862, Raff wrote a Quintet for Piano and season, we investigate its sister quartet,
String Quartet (which we performed in 2012). Op. 202, No. #2 in C Minor. The C Minor was
He saw the writing of a quintet for piano and written in 1877, one year after the G Major,
string quartet as one of the greatest tests a and is the last major chamber composition
composer could face—Schumann’s Quintet of his life. At this point, Raff was highly
from 1842 being one of the few prototypes. regarded and brought to this work the full
A glimpse into Raff’s realization of the effort compositional powers he had developed
required of such a task can be seen in a letter over an extensive career. Raff’s 11th and final
he wrote to his wife. “I think I may say that symphony also appeared at about this same
my abilities are rising to the task; and that time. Editions Silvertrust include the following
needs to be the case, for it is more difficult description of the work in its catalogue:
than a symphony or a string quartet and I It is a substantial work in four movements.
understand very well why even Beethoven The huge opening Allegro begins somberly
steered clear of them and why nothing with an ominous short motif in the piano. The
more has been done in the genre since mood is one of foreboding which is hardly
Schumann’s single quintet.” relieved by a second and more lyrical, but no
less anxious melody which has little time to
Raff’s success in this undertaking was establish itself before a final forceful and more
reinforced by his friend, Hans von Bülow, confident idea, a series of stepwise descending
who stated to Raff in a letter dated April 13, jumps, asserts itself. The hard-driving second
1869, “I cannot help confirming again with movement, also an Allegro, is much shorter
12 Midsummer’s Musicthan the preceding one. Strongly rhythmic,
Raff squeezes five delightful melodies into
this tiny gem. Next comes a slow movement,
Larghetto. It is the emotional center of the
work. The piano begins it with a haunting
melody played straightforwardly. Later the
violin takes up this melody which is now
revealed in all its wistful beauty. The pace
speeds up as the piano introduces a second
subject. The finale, a third Allegro, is a happy
affair beginning in C Major. The piano starts in
declamatory fashion, answered by the violin
and cello before they launch straight into the
first of three joyous themes upon which the
movement is based.
It is hard to believe, living in the 21st DOOR COUNTY’S
century, that Raff was practically a
household name in his day. Prior to the
PREMIER
end of the 19th century, and even into TEA STORE!
the first two decades of the 20th, Raff was
considered virtually on a par with Brahms,
Liszt, and Wagner and seemed surely to be Variety of Fine Teas
remembered as one of the main musical
figures from his time. By 1920, he was
virtually a forgotten man, perhaps because Tea Accessories
of the uneven quality of his work brought
on by the financial necessity of turning out
large numbers of compositions. Only today British Goods
is his merit being reevaluated, allowing
those works that he lavished exceptional
care upon to be duly recognized. It seems Featuring
fitting that between last year’s final concert
and this year’s first, we will have explored
Rishi
two of his greatest masterpieces in and
recognition of his 200th birthday.
Harney & Sons
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Fine Teas
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attendance. This survey is part of a In the Country Walk Shops
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social impact of arts and culture on Door 10566 Country Walk Drive
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Unit 33
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Season 32 13English Connections
Quartet No. 1, “Calvary” (1956) Coleridge-Taylor Perkinson
String Quartet (1932-2004)
Allegro
Quarter note = 54
Rondo: Allegro vivace
Phantasy Quintet (1912) Ralph Vaughan Williams
Two Violins, Two Violas, and Cello (1872-1958)
Prelude. Lento ma non troppo
Scherzo. Prestissimo
Alla Sarabanda: Lento
Burlesca: Allegro moderato
Intermission
Quintet No. 2 in C Minor, Op. 86 Charles Villiers Stanford
Two Violins, Two Violas, and Cello (1852-1924)
Allegro molto moderato ma energi
Andante
Allegro molto
Adagio: Allegro giusto
David Perry & Maynie Bradley, Violins • Sally Chisholm & Allyson Fleck, Violas •
James Waldo, Cello
David and Sally are sponsored by Nancy & David Borghesi.
Thursday, June 16, 7:00pm – St. Luke’s Episcopal Church, Sister Bay
Sponsored by Joe & Ginny Brand
Sunday, June 19, 5:00pm – Woodwalk Gallery, Egg Harbor
Dedicated to the memory of Arnie Widen
Sponsored by Judy Widen
Artist: Cherie Burbach
Tuesday, June 21, 5:00pm – Fish Creek Historic Town Hall, Fish Creek
Optional dinner at Alexander’s following the concert
Sponsored by Barbara Gould in memory of Spencer Gould
Make Music Day
Thursday, June 23, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor
Sponsored by David & Genie Meissner
Poet: TBD
14 Midsummer’s MusicEnglish Connections
PROGRAM NOTES
Over the past several seasons, we have the arrangement of “I Want You”), Barbara
featured works by a very talented composer McNair, Harry Belafonte, Lou Rawls, and Max
of English nationality who was black, Roach. His music for the screen includes
Samuel Coleridge-Taylor. He made a Amazing Grace, The McMasters, Freedom
profound impression, first in England, and Road, Love Is Not Enough, Room 222, and A
eventually internationally, especially for Warm December (starring Sidney Poitier).
his work, The Song of Hiawatha, an oratorio At the same time, he was composing
in three parts for solo voices, chorus, and symphonic music, music for ballet (Alvin
orchestra. For a time, he was celebrated in Ailey and The Dance Theatre of Harlem),
the capitals of the world including the U.S., and chamber music. His String Quartet No.
where he was invited to the White House 1, “Calvary,” was written in 1956. It is based
by Theodore Roosevelt. Unfortunately, on the Afro-American spiritual by the same
he met an untimely death at 38, and his name as its subtitle. “When I sat down to
fame and the performance of his music write this string quartet, I was not trying to
quickly receded from the scene. Like Ralph write something Black, I was just writing
Vaughan Williams, he was a student of out of my experience,” he said. Perkinson’s
Charles Villiers Stanford. The impression music has been said to blend baroque
he made during a short period is attested counterpoint, American romanticism,
to by many examples, one of which is elements of the blues, spirituals, black folk
the naming of a young American whose music, and rhythmic ingenuity.
parents perhaps thought might follow in
his footsteps. Ralph Vaughan
Williams (1872-
Coleridge-Taylor 1958) was the
Perkinson (1932- most famous
2004) was named British composer
after Samuel between Edward
Coleridge-Taylor. Elgar and
His mother was a Benjamin Britten.
musician, and her Vaughan Williams
encouragement came from a
led, among other distinguished
things, to her family, which, other than his father, an
son’s winning the Anglican priest, were primarily lawyers. On
Choral Competition at New York’s famed his maternal side he was related to Charles
High School for Music and Art. Around this Darwin. His early instruction in music came
time, he met Igor Stravinsky. He eventually from an aunt who taught him piano and
attended New York University and then musical theory. By the time he entered the
the Manhattan School of Music, where Royal College of Music he had also taken up
he earned both his Bachelor and Masters’ the violin, viola, and organ.
degrees in composition and conducting.
At the Royal College, he studied with
His work spanned both the classical and Parry, Wood, and Stanford. It is there that
popular music worlds. He co-founded the he also became close friends with Gustav
Symphony of the New World and conducted Holst, starting in 1895. This was a very
it for five years. He also worked with and did productive musical relationship because
arrangements for Marvin Gaye (including they determined to subject their works to
Season 32 15each other’s criticism in what they termed The Phantasy for String Quintet is a kind
“field-days.” This association persisted until of extension of the Tallis setting, probably
Holst’s death in 1934. owing to the success of the latter and to
Correspondence between the two shows Vaughan Williams’ friendship with William
impatience on the part of Vaughan Williams Cobbett, a successful businessman and
regarding their progress and effort. He chamber music aficionado who sponsored
says, “I think we crawl along too slowly … a chamber music composition competition
Somehow we seem too comfortable – we that stipulated a “fantasy” format. It is said
don’t seem to strain every nerve … I think to share a similar instrumental layout and
we are right in a mild sort of way. But then mood of rapt contemplation.
mildness is the very devil. So something Edition Silvertrust includes the following
must happen and we must make it description in its catalogue:
happen.” Holst reassures him by saying, The opening Prelude begins with a lovely
“You got yourself into the same state of viola solo eventually answered by the first
mind just before you wrote the Heroic violin. The melody is pentatonic. The second
Elegy [one of his best early works], so that I movement, a Scherzo, starts with the cello
look on it as a good sign and quite expect and is quite unusual with its asymmetrical
to hear from you that you have struck oil rhythm and ostinato. Perhaps there is a
when you write again.” vague aura of Ravel. Next comes an Alla
Sarabanda. It is a Lento played entirely
Throughout the decade following college muted and without the cello who rejoins
and until he went to Paris to study with Rav- the proceedings in the finale, Burlesca,
el in 1908, Vaughan Williams continued to which appears based on folk song and
be very hard on himself. He destroyed most brings with it echoes of the first movement.
of his orchestral compositions from these Both this work and the Stanford quintet that
years and withdrew his chamber music follows use two violas, while our quintet
works. Upon his death in 1958, his widow program in August features two cellos.
gave these early chamber compositions to
Charles Villiers
the British Library with an embargo. It was
Stanford (1852-
only in the 1990s that she agreed that their
1924) was one
release would help shed light on the devel-
of two pillars of
opment of Vaughan Williams’ unique style.
English music
In recent years we have performed two in the late
Piano Quintets of Vaughan Williams that 19th century
date from these early years—quintets that who helped
Vaughan Williams withdrew from the public re-establish
and only recently have become available. his country’s
However, the Phantasy Quintet is from 1912 reputation as a
and comes a year or two after his success source of compositional excellence. This
with his Fantasia on a Theme by Thomas reputation had been diminished since the
Tallis. Vaughan Williams had edited the days of Purcell and Handel in the 17th–18th
English Church Hymnal in 1906, and he was centuries. The other pillar, of course, was
a great enthusiast of the music of the 17th Edward Elgar. For much of their lives these
century English composer, Henry Purcell. two stalwarts of English music seemed
Those interests lead him also to one of the at cross-purposes. Stanford’s reputation
finest English composers of the 16th century, has relied for many years on his extensive
Thomas Tallis. Vaughan Williams used a contribution to sacred music, although
melody that Tallis wrote as a Psalm tune for in recent years an appreciation has been
his Fantasia, scored for full string orchestra. growing for his significant number of works
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Season 32 17for orchestra (seven symphonies) and works was probably inspired, along with the F
for a solo instrument and orchestra. There Major Quintet, by the two that Brahms had
are currently 272 recordings of Stanford’s written just a decade or so before and was
music listed at archivmusic.com, and all written to celebrate the diamond jubilee
seven of his symphonies are represented of Joachim’s visits to London. Joachim had
with multiple recordings by various formed the famous Joachim String Quartet
orchestras and conductors. His concertos in 1869, which eventually came to London
are also well covered. on a regular basis. Stanford sent a set of
Throughout the 19th century, London was parts to Joachim in 1904, which the Quartet
a favorite international city for travelling premiered in Berlin and then repeated in
musicians. Haydn had helped raise its London five weeks later.
profile when he was brought there in the Jeremy Dibble in his notes for the first
1790s by the violin virtuoso and concert recording of this work on the SOMM label,
impresario Peter Salomon to present his speculates that the seriousness and grand
last 12 symphonies written especially architecture of the C Minor Quintet may
for London. Mendelssohn made 10 trips have been inspired by the treatment
to London during his short lifetime Brahms gave his First Symphony (also in C
for concerts and to present his own Minor). The first theme quotes the theme
compositions during the first half of the from the first movement of Haydn’s String
19th century. Quartet, Op. 76, No. 2 (Fifths). The second
Stanford received an early musical theme features the two violins and cello.
education as a pianist and organist, with The movement is the longest of the Quintet
additional work on the violin and in and, as a whole, has been described as a
composition. He entered Queen’s College, combination of “distinct melancholy and
Cambridge in 1870. By 1873 he had been determined energy.” The second movement
appointed organist at Trinity College is an Andante that presents a minuet-like
and was gaining experience as a choral theme that forms the basis for a set of
conductor. During the next few years, variations. Michael Cookson describes it as
Trinity allowed him to travel to Germany “so pleasing to the ear, calm overall with a
for part of the year for further study. While tinge of sorrow in the undertow.” The short,
on these trips, he studied composition light-hearted, and fleet-of-foot Scherzo
with Reinecke and, later, Friederich Kiel. He (marked Allegro molto) Cookson colorfully
met Brahms, Offenbach, Saint-Saëns, the describes as like “a scene of spirits from
violinist Joseph Joachim, and many others, Celtic faeryland leaping, dashing and darting
particularly when he travelled to Bayreuth, in the twilight, somewhat in the manner
Germany, for the premiere season of the of a J.B. Yeats poem.” The Finale begins,
Wagner Festival in 1876. somewhat unusually, but again like the last
movement of the Brahms First Symphony,
Stanford’s relationship with Joachim seems with a slow introduction. The Allegro giusto
to have been particularly inspirational that follows is also marked nobilmente,
to Stanford’s significant chamber music which is suggested musically through
output. Joachim started to make nearly the use of a throbbing motif in the lower
annual visits to Great Britain starting in strings. Eventually the mood is lightened by
1844. Around 1859, he met the shy young a shift to a scherzino section highlighted by
Stanford in his native Ireland. From then on, staccato notes and a shift eventually from
the influence of Joachim was considerable G minor to major. In the recapitulation,
on the developing composer, much as it Stanford ingeniously inverts the order of the
was on Brahms. The C Minor String Quintet, thematic material so as to reach a climax
the second of Stanford’s two such essays, with the opening material at the end.
18 Midsummer’s MusicPRESENTS
William
THE
Tempest
Shakespeare’s
&
by Joe Pine, with music and lyrics by
Scott McKenna Campbell
DoorShakespeare.com 920.854.7111
Summer Season: June 22–August 27
Season 32 19Stanford sent both quintets to the publisher may well have been proud to recognize
in 1903, but the publisher declined to how much of this advance was directly due
commit to the Second Quintet. It has to his own efforts as guide and teacher.
remained unpublished to this day. We are These words were written by Thomas
grateful to British musicologist, Jeremy Dunhill, a student of Stanford, whose
Dibble, who edited the Quintet for the first Clarinet Quintet we featured a few years
recording of this work on the SOMM Label, ago. When Dunhill says, “others advanced,”
for making his edition available to us for he was referring to those among a
these performances. long and substantial list of composers
In his Cyclopedic Survey of Chamber Stanford taught, in addition to Dunhill,
Music from 1929, Walter Cobbett says, that included Vaughan Williams, Gustav
“In the large amount of instrumental Holst, Frank Bridge, William Hurlstone,
chamber music that Sir Charles John Ireland, Samuel Coleridge-Taylor, and
Stanford wrote, there is full evidence of scores of others.
the more serious aspect of his genius Stanford died in 1924. Upon his death, his
… The fact that Stanford labored so remains were placed in Westminster Abbey
earnestly in the cause of chamber next to those of the great 18th century
music, and produced such a large English composer, Henry Purcell.
number of important works, must
have considerable weight.” Current
awareness of Stanford’s chamber music
genius is slowly becoming realized
again. But it wasn’t just Stanford’s
contribution of his own works to the
chamber music repertoire that was of
such significance. His singular influence
over an important number of students
in his role as Professor of Composition
at the Royal College of Music, to which
post he was appointed in 1883, remains
legendary.
Stanford’s place in chamber music is far
more important than any mere estimate
of his own contributions to the art might
lead one to believe. He is, indeed, a figure
of great historical significance, if only for
the very marked influence his personality
and attainments had upon the work of his
contemporaries and successors. Many will
agree that the revival of interest in cham-
ber music is the most striking feature on
the musical landscape to-day. Thirty years
ago this was not so, and Stanford stood
Season subscriptions and
in a position of almost solitary eminence
in this country. When, a little later, others single tickets now available
advanced in equal prominence and showed www.ThirdAvenuePlayWorks.org
an even greater practical sympathy with
this most intimate form of music, Stanford
or 920-743-1760
20 Midsummer’s MusicCelebrating our Artistic
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Season 32 21Griffon String Quartet
String Quartet No. 8 in C Minor Dmitri Shostakovich
String Quartet (1906-1975)
Largo
Allegro molto
Allegretto
Largo
Largo
Intermission
String Quartet No. 2 in A Minor, Op. 13 Felix Mendelssohn
String Quartet (1809-1847)
Adagio; Allegro vivace
Adagio non lento
Intermezzo. Allegretto con moto; Allegro di molto
Presto
Ji-Yeon Lee & Vinicius Sant’Ana, Violins • Blakeley Menghini, Viola • Ryan Louie, Cello
Friday, June 24, 7:00pm – St. Luke’s Episcopal Church, Sister Bay
Sponsored by Jim & Jean Berkenstock
Saturday, June 25, 7:00pm – Hope United Church of Christ, Sturgeon Bay
Sponsored by Sandy Zingler
Sunday, June 26, 3:00pm – Sister Bay Moravian Church, Sister Bay
Thursday, June 30, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor
Poet: Sarah Nance
22 Midsummer’s MusicGriffon String Quartet
PROGRAM NOTES
Dmitri a Communist. Only the urgings of his
Shostakovich friends dissuaded him from suicide.”
(1906-1975) was This work is just over twenty minutes long.
53 years old in Its five movements proceed without pause.
1960 when he
wrote his Eighth Using his German initials, DSCH (Dmitri
String Quartet. SCHostakovich), he wrote his name into his
He was near the music. This was not uncommon in his other
still-bombed-out works but most prominent throughout this
Dresden at the quartet. The four-note musical motive is D,
time. These were E-flat (S), C, B (H).
hard times for Shostakovich. He suffered The quartet is in cyclical form with similar
from a debilitating muscular weakness, material occurring throughout. Three
known as Lou Gehrig’s disease. He was also devasting notes end the fourth movement,
under relentless political pressure to join symbolizing the knock of the KGB at the
the communist party, which was total door or perhaps the bombs of warfare.
anathema to him. Quotes from his other composers are found
Many musicologists have studied the throughout as if he is taking a trip down
influence of Dresden on Shostakovich. memory lane. The piece ends in somber
According to an article, “The Legend of the elegy, just as it began. It was premiered
Eighth Quartet,” by Ian MacDonald: in Lenningrad by the Beethoven String
Quartet the same year that it was written.
“It was once a standard component
of the Shostakovich-as-Communist The year 1827 was
myth that his Eighth Quartet was a when Beethoven
protest against war and (Nazi) fascism died, and his
provoked by its composer’s shock at last five string
seeing the ruins of Dresden in July quartets appeared
1960. While still peddled in sleeve in print. Felix
notes, this idea seems increasingly Mendelssohn
dubious. Writing in 1989 in The New (1809-1847) was
Shostakovich, I suggested that the only 18 years old
quartet was indeed a piece of protest in 1827 when he
music, but a protest instead against composed his first
the Communist Party into which string quartet, even though it was published
Shostakovich was then in the process as his second. The homage to Beethoven
of being forcibly enrolled. This guess is evident, with literal ties to Beethoven’s
was confirmed by the composer’s string quartets Opp. 95, 132, and 135.
colleague Lev Lebedinsky in his letter The finale of Mendelssohn’s Quartet No. 2
to Novy Mir (1990, No. 3). The Eighth quotes previous movements and eventually
Quartet, writes Lebedinsky, was meant circles back to the opening, making this one
as a last testament, following which of the first cyclical chamber works.
Shostakovich had intended to kill As a unifying motif, Mendelssohn included a
himself rather than face the shame of quotation from his lied “Frage” (“Question”),
being misrepresented to the world as Op. 9, No. 1, composed just a few months
Season 32 23before the Quartet. The poem begins with and moves to a wonderful Allegro vivace.
the question, Ist es wahr? (Is it true?). In the second movement, an Adagio,
Is it true?
opens with a peaceful prelude and then
Is it true that over there in the leafy walkway,
moves to a chromatic fugue (a reference to
you wait for me constantly by the vine-
Beethoven’s Op. 95).
covered wall? The third movement, Intermezzo, recalls A
And that you ask for news of me from the Midsummer Night’s Dream Overture (written
moonlight and the little stars? at age 17) and other scherzo movements
Mendelssohn includes the song’s title in the of Mendelssohn’s chamber works, such as
quartet’s score, recalling Beethoven’s (Op. the String Octet (written at age 16). The
135), which also asks the question, “Muss final movement of the quartet ends with
es sein?” (Must it be?). While Mendelssohn a quotation from the second half of the
was writing about youthful, tender love, song, “Frage.”
Beethoven was writing about fate, the What I feel can only be understood by
complexity of age, and reverent awe. The someone who feels it with me,
Adagio opening (referencing in form and and who will stay forever true to me.
key to Beethoven’s Op. 132) is in A major Griffon Program Notes by Allyson Fleck
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24 Midsummer’s MusicSeason 32 25
Mozart & Healy
Trio in E-flat Major, “Kegelstatt,” K.498 Wolfgang Amadeus Mozart
Clarinet, Viola, and Piano (1756-1791)
Andante
Menuetto
Rondo: Allegretto
Trio (2022) Will Healy
Clarinet, Violin, and Piano (b.1996)
Quarter note = 66
Quarter note = 112
Quarter note = 60
Intermission
Piano Concerto No. 14 in E-flat Major, K.449 Wolfgang Amadeus Mozart
(arr. Mozart) (1756-1791)
Piano and String Quartet
Allegro
Andantino
Allegro ma non troppo
Alicia Lee, Clarinet • David Perry & Ann Palen, Violins • Allyson Fleck, Viola •
James Waldo, Cello • Jeannie Yu & Will Healy, Pianos
David is sponsored by Nancy & David Borghesi.
Jeannie is sponsored by Mary Hauser & Jerry Randall.
Will Healy is sponsored by the MMG Foundation.
Friday, July 1, 7:00pm – Björklunden, Baileys Harbor
Sponsored by Peggy Lott
Saturday, July 2, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor
Sunday, July 3, 3:00pm – St. Luke’s Episcopal Church, Sister Bay
Tuesday, July 5, 7:00pm – Hope United Church of Christ, Sturgeon Bay
Sponsored by Sandy Zingler
26 Midsummer’s MusicMozart & Healy
PROGRAM NOTES
For Wolfgang later works with a more balanced approach.
Amadeus Mozart Likewise, his chamber compositions involving
(1756-1791), the piano tended to reflect his own formidable
year 1786 was ability. In the standard piano trio (piano,
very productive. violin, and cello), this often left the cello
He was living in the role of a bass instrument with few
in Vienna and thematic responsibilities.
was savoring The Trio in E-flat, K. 498, changed all that.
the success of With three varied instrumental colors
his opera, Die and no bass instrument, Mozart took a
Entführung different approach. Here he employs his
aus dem Serail (The Abduction from the trio of instruments as equals, enjoying the
Seraglio), which, since its composition opportunity to play three characteristic
in 1782, was being heard in many parts timbres against one another.
of Germany. The main task for Mozart in
the first half of the year was a new opera, The first movement is a flowing Andante in
based on the second part of Beaumarchais’ a lilting triple meter. It is dominated by a
trilogy, to be named Le nozze di Figaro theme characterized by a rapid turn that is
(the Marriage of Figaro). He began work heard a total of 41 times. While the clarinet
in late 1785 and completed it in time for generally takes the upper part to the
its first performance at the Burgtheater viola’s accompaniment in the exposition,
on May 1, 1786. During these same the recapitulation tends to reverse this
months he completed a short Singspiel, relationship. The Menuetto continues the
Der Schauspieldirektor, revised his opera triple meter in a rather serene mood for a
seria, Idomeneo, and composed two piano dance movement. The trio portion turns
concerti (K. 488 and K. 491). livelier thanks especially to a plethora of
viola triplets.
Figaro was performed nine times in
its initial season. Meanwhile, Mozart The finale is a Rondo (Rondeaux in Mozart’s
completed his fourth and last horn French spelling) that starts as a gentile
concerto (K. 495) in June and turned to allegretto, but already the change to a
chamber music for the summer months. duple meter feels welcome. The stately
In June, he completed the Quartet for mood of the beginning gradually becomes
Piano and Strings, K.493, followed by the more energetic. The main theme recurs
Trio for Piano, Violin, and Cello, K. 496, a several times with intervening material
month later. The work on this program (K. exploiting the various instruments,
498) was completed on August 5th, nearly especially the viola, which enjoys its most
concurrently with the “Hoffmeister” String significant role of the three movements.
Quartet (K. 499) finished on August 19th. The clarinet part was probably intended
Another trio for piano, violin, and cello (K. for Anton Stadler, a fellow freemason in
502) followed in November. Mozart’s lodge. Stadler was a virtuoso
Throughout his life, Mozart seemed to work clarinetist for whom Mozart wrote his
toward the ideal of greater equality of parts in Clarinet Quintet (K. 581) and the Clarinet
his chamber music for strings. This tendency Concerto (K. 622). Stadler was also the
can be traced from the earlier string quartets, clarinetist in the first performance of the
which emphasize the first violin part, to the Quintet for Piano and Winds (K. 452), and
Season 32 27it was for him that Mozart wrote the two Recent collaborations include directing and
outstanding solo obligato aria parts in La arranging for Kanye West, writing original
Clemenza di Tito (K. 621). The piano part music for the New York Philharmonic’s
in the Trio was played first by Mozart’s “Young People’s Concerts,” and composing
17-year-old piano pupil, Franziska Jacquin. a piano concerto for Kaleidoscope Chamber
It is likely that Mozart played the viola part. Orchestra with himself on piano. Healy’s
This trio is often referred to by the awards include a Charles Ives Scholarship
nickname, the Kegelstatt Trio (bowling from the American Academy of Arts and
alley trio), a title that is probably erroneous. Letters, two ASCAP Morton Gould Awards,
Mozart had just written a set of 12 short the W.K. Rose Fellowship, and a J-Fund
duets for two wind instruments. He dated commission. His work has appeared recently
them July 27, 1786, and included the at the Kennedy Center, Lincoln Center,
extra indication “while bowling.” This was Carnegie Hall, New York City Ballet, and (le)
a recreation Mozart enjoyed with Stadler Poisson Rouge, among others. He recently
and the Jacquin family on the grounds of moved to Carroll Gardens, Brooklyn, where
the Jacquin home in Vienna. While Mozart he enjoys spending maskless time with
probably did dash off his duets “while vaccinated friends on his roof. Healy’s
bowling,” the association with the Trio in first work for Midsummer’s Music, Transit,
E-flat is probably the result of proximity in starring Mikaela Bennett, soprano, was
time and likely apocryphal. recently recorded as a video and is soon
to be released. Healy describes his Trio for
This is Will Healy’s Clarinet, Violin, and Piano, commissioned by
(b.1990) second Midsummer’s Music, as follows:
year as Composer-
The work begins with a chorale-like
in-Residence for
Midsummer’s movement in which the piano fades in
Music. He is a underneath a slow chordal sequence in the
composer, pianist, violin and clarinet. The piano introduces
improviser, and a syncopated, improvisational figure that
educator based in slowly takes over the chorale. A syncopated
New York. Aiming figure leads us into the second movement,
to write music that performed attacca (without pause). This
enables collaborations among inspiring movement is heavily jazz-influenced with
artists regardless of genre boundaries, sudden mood and gestural changes. At times
he is the artistic director of ShoutHouse, the ensemble is like a single jazz musician
a collective of hip-hop, jazz, and classical performing an improvisational solo, based
musicians. He recorded and released his on the initial piano rhythms in movement
first full-length album in 2019, including one. The final movement is lyrical, featuring
a 40-minute song cycle for rappers, melodic lines in the clarinet and violin over
soloists, and chamber orchestra, which was staccato, crystally rhythms in the piano.
released on New Amsterdam Records. As This builds until hints of the chorale from
a pianist, he has a passion for both new movement one return.
and old music, particularly the works of J.S. When Mozart (1756-1791) arrived in Vienna
Bach, with a repertoire that includes the from Salzburg in 1782 at the age of 25, he
complete Goldberg Variations and Well- had an agenda that was similar to that of
Tempered Clavier. He studied composition Beethoven’s a decade later when he came
at the Juilliard School, where his teachers to Vienna from Bonn. Mozart needed to find
were Samuel Adler, John Corigliano, and support for his compositional efforts. He
Steven Stucky. knew that the avenues to that support would
28 Midsummer’s MusicProviding
comprehensive
piano service to
Midsummer’s
Music Festival
Potluck Piano
Peter Nehlsen
1141 Old West
Harbor Rd.
Washington Island, WI
54246
920-535-0108
Season 32 29be his own remarkable ability as a performer
and the opportunities he might find to teach
music to members of the nobility, children,
and adults. His Piano Concerto in E-flat, K.
449 fits the bill on both accounts.
The E-flat Concerto is one of five concerti he
wrote in 1784, the most he ever produced
in a single year. Two years after his arrival,
he was fast becoming a rising star as
a pianist, and he wanted material that
showed off his own ability as a performer
but also as a consummate composer.
Furthermore, he had a student, Maria Anna
Barbara vom Ployer, known affectionately
as Babette, who was quite gifted and
accomplished. Mozart ostensibly wrote this
work for Babette, but it was Mozart himself
who gave the premiere on March 17, 1884, Preservation Hall The Temptations
Jazz Band JUNE 22 SEPTEMBER 2
with Babette performing the work for the
first time about a week later. Nonetheless,
the Ployer family, according to Mozart, “paid
me handsomely.”
As the 14th of 27 piano concertos by Mozart,
the work is midway in his output in more
ways than one. While showing off Mozart’s
remarkable ability at the piano, it also shows
the compositional command that Mozart
has developed that allows him to write a Canadian Brass Manhattan Transfer
SEPTEMBER 16 OCTOBER 14
showpiece that, despite the lightness of the
style, shows considerable depth. Mozart
also employs oboes and horns to add depth
to the orchestra, but their purpose is more 2022 Patty Griffin 6.16
for reinforcement than as the unique solo
Preservation Hall Jazz Band 6.22
interlocutors engaging and challenging the
Okee Dokee Brothers 6.23
soloist that they would be come in works a Charley Crockett 6.29 • Indigo Girls 7.1
few short years hence. WAR 7.3 • The High Kings 7.7
The War and Treaty 7.12 • Cloud Cult 7.22
Because of this restrained treatment of
Doc’s 70th Birthday Bash 7.24
the winds, Mozart was able to reduce Keillor & Company 7.30 • Ani DiFranco 8.7
this small orchestra to a string quartet for Victor Wooten - Bass Extremes 8.22
performances of a more intimate nature. Asleep at the Wheel 8.28
He therefore made his own arrangements The Temptations 9.2 • Home Free 9.3
of this and several other concertos of this Canadian Brass 9.16
time. The first movement is unusual in the Gordon Lightfoot 9.22
Shakey Graves 10.2
use of three-quarter time, one of only three
Manhattan Transfer 10.14
of his concertos that uses triple meter in Marty Stuart 10.22
the first movement. The result is a bit more
light-hearted feeling. Despite the dance-like WWW.DCAUDITORIUM.ORG
quality, excursions into the minor key and 3926 HWY 42, FISH CREEK • 920.868.2728
30 Midsummer’s Musicunexpected chromaticism provide a sense
of seriousness and, at times, agitation.
The slow movement has been described
as “restrained, dignified, and hushed in
character.” Mozart also makes interesting
use of the inner voices.
The finale is a spontaneous and airy rondo,
which, despite its galante character, shows
that Mozart has recently discovered the
marvelous counterpoint of J.S. Bach. This
encounter with Bach would substantially
HARBOR
change his compositional direction and,
to a degree, the history of music. Here we
see some of the first indications of how this
knowledge is tightening and intertwining
the thematic material Mozart is dealing with.
After Mozart premiered the work at a Fish Market & Grille
subscription concert he organized, he Distinctive Waterfront Dining
reported to his father, “The hall was full to Celebrating 20 years!
overflowing; and the new concerto I played
won extraordinary praise. Everywhere I go I Serving Breakfast, Lunch, & Dinner 7 days a week
Outside Waterfront Dining (Weather Permitting)
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w w w. i n n o v a t i v e p r i n t i n g l l c . c o m
Season 32 31Scintillating Summer Serenades
Sextet in E-flat Major Paul Wranitzky
Flute, Oboe, Violin, Two Violas, and Cello (1756-1808)
Adagio; Allegro
Andante
Presto
Quartet in F Major, K.E. 368b Wolfgang Amadeus Mozart
Oboe, Violin, Viola, and Cello (1756-1791)
Allegro
Adagio
Rondo: Allegro, ma non troppo
Intermission
Quintet in D Major, Op. 35 Bernhard Molique
Flute, Violin, Two Violas, and Cello (1802-1869)
Allegro
Scherzo
Andante
Rondo
Heather Yarmel, Flute • Lindsay Flowers, Oboe • David Perry, Violin •
Allyson Fleck & Mary Deck, Violas • James Waldo, Cello
Heather is sponsored by Jean Berkenstock.
David is sponsored by Nancy & David Borghesi.
Thursday, July 7, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor
Dedicated to the memory of Kenneth Douglas Schultz
Friday, July 8, 7:00pm – First Baptist Church, Sister Bay
Sponsored by Jim & Jean Berkenstock
Saturday, July 9, 7:00pm – St. Luke’s Episcopal Church, Sister Bay
Poet: Yvette Flaten
Sunday, July 10, 5:00pm – Woodwalk Gallery, Egg Harbor
Sponsored by Karin & Scott Myers
Artist: Patt Huss
32 Midsummer’s MusicScintillating Summer Serenades
PROGRAM NOTES
Paul Wranitzky constant throughout. The finale, Presto, is
(1756-1808) was very sprightly and often features the flute
born in Moravia in and oboes as a pair when they are not
the same year as playing solos. They are thus often set off
Mozart. He initially against the strings much like they would
studied theology in be in symphony where there would be
his home country, either two flutes or two oboes functioning
but at age 20 was in this manner. The use of two violas is not
drawn to Vienna like uncommon when there are several treble
so many of his tal- instruments as we have here with flute, oboe,
ented countrymen and violin. The second viola helps fill in the
by the musical possibilities. He was a prolific middle and lower parts of the register to
composer in most fields writing as many as provide a bigger and more balanced sound.
44 symphonies, at least 56 string quartets, We see the same situation in the final work
and 10 operas. His opera, Oberon – The Fairy on this program by Molique.
King, was a big hit upon its premiere in 1789 Wolfgang
and inspired Emanuel Schikaneder to pen Amadeus
the libretto for what would become Mozart’s Mozart’s (1756-
The Magic Flute two years later. 1791) Quartet in
Wranitzky was conductor of the Royal F Major, K. 386b,
Theater Orchestra and was highly valued for Oboe, Violin,
for his skill in this regard by Mozart, and Viola, and Cello
Beethoven. Musicologist Ron Drummond continues the no-
compares Wranitzky’s string quartet output table 18th century
very favorably to that of Mozart’s saying that tradition of writing
the quality is equal, but Wranitzky produced quartets for a sin-
a greater volume of masterworks. gle wind instrument and strings that seems
The Sextet we are performing is the third in to have sprung from the desire on the part of
a group of six that were published together amateur musicians to have a vehicle for their
in 1790. They appear to be arrangements of own musical gratification. Hundreds of such
some of his symphonies, a practice that was works appeared during the latter half of the
common at the time and allowed for wider 18th century for this purpose. Mozart himself
performance opportunities. had already contributed three quartets for
flute and strings just prior to completing the
The first movement begins with an Adagio Oboe Quartet in 1781.
introduction that leads to a sprightly Alle-
gro. As in the case of much of Wranitzky’s The year 1781 was important for Mozart in
writing, virtuosity is spread among all of terms of chamber music. This was the year
the instruments. that saw the publication of Joseph Haydn’s
String Quartets, Op. 33—works that had such
The slow movement is marked Andante a profound impact on Mozart that he imme-
and is a flowing serenade-like creation that diately responded with a set of six quartets
features beautiful writing for the flute and of his own dating from 1782 to 1785, which
the oboe. The oboe, as in the beginning, were dedicated to Haydn with the acknowl-
is often paired with the violin. The cello edgment that they were “the fruit of pro-
underneath keeps the motion almost longed and laborious toil.”
Season 32 33You can also read
